The image of a noble estate
and the fate of the hero in the novel by I.A. Goncharova "Oblomov"
Technologies: problem-based learning, ICT technology, integrated learning technology
Form of conduct: lesson-dialogue
Teacher's word
Ivan Aleksandrovich Goncharov came from a wealthy merchant family: his father was engaged in the grain trade, his ancestors for several generations were merchants. The writer had neither hereditary nor acquired estate. He spent his childhood in Simbirsk, and most of his life is connected with Petersburg, where he served. However, despite the lack of personal experience of the "estate" childhood, Goncharov in the novel "Oblomov" creates a surprisingly believable, colorful and tangible image of a noble estate. His "Flemish" was manifested in the image of Oblomov's estate in all its strength.
The main action of the novel "Oblomov" takes place in St. Petersburg and its environs, but the image of Oblomovka, which repeatedly appears on the pages of the work, is one of the central ones. On the one hand, Oblomovka is the childhood of the protagonist, that is, what, according to Goncharov, determines the character and, possibly, the fate of a person. On the other hand, this is the ideal of Ilya Ilyich, a kind of utopia.
We get to know the estate at the beginning of the novel, through a letter from the headman, who is clearly deceiving his master. Note that the nobles quite often found themselves cut off from their possessions and entrusted the farm to the headman or manager. You can recall what we wrote about in the introductory article to the heading: the nobleman sometimes had only childhood and old age associated with his native estate. The years of adolescence and adolescence fell on study, and maturity - on the service. At this time, they rarely came to the family nest. It also happened, as N. A. Nekrasov describes in The Forgotten Village:
Finally one day in the middle of the road
Drogs seemed like a cogwheel train:
A tall oak coffin stands on the sidewalk,
And in the coffin there is a master; and behind the coffin - a new one.
They buried the old, wiped away the new tears,
He got into his carriage and left for St. Petersburg.
A nobleman could not live on his estate for various reasons. The main ones are two: the public service and love for urban (secular, cultural) life. However, none of these reasons exist for Oblomov. In the first part, we see the hero's attitude to life in the capital, and it is obvious that he does not like it, it seems to be full of meaningless fuss. He defines each of his guests with a summarizing word - "unfortunate." However, Oblomov is not bound by the service. Moreover, it is obvious that the farm requires his intervention.
- Why, then, Oblomov does not go to the village. What's stopping him?
It is also important here how the hero sees any journey (even moving to another apartment in the city), and the fact that he must first draw up a plan (he tells Stolz about this). We get acquainted with this plan in the eighth chapter of the first part.
Let's re-read the passage. We will answer problematic questions:
- What does the plan consist of?
- What is the main part of it?
- Why does the "fundamental article" of the Oblomov estate management run through the mind only in passing?
- What in this regard causes a clear smile of Goncharov and ours, the reader's?
- How useful and fruitful are Oblomov's projects?
- What other character of Russian literature does Oblomov remind here?
- The features of what literary trend can be seen in the description of a summer evening at the estate?
- What is the beauty and what is the disadvantage of such an ideal?
CONCLUSIONS (generalization of students' judgments)
Oblomov's plans show his Manilov dreaminess, inability and unwillingness to delve into the management of the economy, an idealized, some sentimental-bucolic idea of \u200b\u200blocal life. His estate, with the steam rising from the fields and peasants returning from the fields, seems to be opera-decorative. Life on the estate is in no way connected with the thought of work, but is thought of as a state of pleasant idleness (even the mongrel is depicted as "idle").
Let's turn now to Oblomov's sleep (part 1, chapter 9) and take a mental walk along that real Oblomovka that our hero knew (after all, this is, in fact, not a dream, but a story about his childhood).
- What is Oblomovka in this dream?
- What characteristic features, details do you remember?
- What is the intonation of the story?
- What unites all the inhabitants of Oblomovka - both nobles and peasants?
- With what intonation does Goncharov draw Oblomovka and its inhabitants?
Let's consider at least a small piece of text in more detail from the point of view of style. Questions (can be in groups):
-How does the style of this text differ from the narrative manner of the writer throughout the novel as a whole?
- For what purpose are such expressions as “roaring lions”, “Egyptian plagues” used, what do they tune the reader to?
- How is the expectation destroyed by the appearance of the expressions "cackling chickens", "chewing cows", etc.?
- Why is the whole fragment based on negation?
- What is the style of this landscape?
- What unites him with Oblomov's dreams from the eighth chapter?
You can show students one or two pictures of a sentimental plan that are idyllic (slides 1-2). Let's pay attention to how people and nature are connected in the paintings, how the nobles and peasants are depicted.
So, the description of Oblomovka is again an idyllic picture, reminiscent of a sentimental pastoral, but presented by the author in an ironic manner. She is perceived as a hero without any irony, therefore sentimental and ironic fragments are constantly mixed.
In the center of the dream is the image of little Ilyusha Oblomov. In fact, we have before us yet another estate "childhood" in Russian literature. The familiar moment of the child's awakening is striking: “Ilya Ilyich woke up in the morning in his little bed. He is only seven years old. It is easy for him, fun. "
Discussion of questions ahead of the assignment
- What are the similarities between the childhoods of Nikita, Nikolenka Irteniev and Ilyusha Oblomov? How do they differ?
Illustrative material will help us here. Let us compare illustrations by different authors: E. Boehm, Y. Gershkovich, I. Konovalov, V. Taburin, T. Shishmareva, N. Shcheglova, P. Estoppe.
Questions for the slides:
Slide number 3. What mood does the illustration evoke? Imagine that you are entering Oblomovka. What emotions do you have?
Slide number 4. Why is the house near the ravine "honored" with a separate illustration? What additional meaning does the illustration gain from the child's figurine?
Slide number 5... Compare the illustrations by T. Shishmareva and V. Taburin. What do they have in common? (Note the composition). What does Ilya's pose express in both paintings? By what means does each of the authors convey the atmosphere of Oblomovka and the state of Ilya? Are these illustrations similar or different in concept?
GENERALIZATION OF ANSWERS
At first glance, the illustrations are remarkably similar. The pose of the hero, the location of his figure, the tree and the lopsided buildings on the right side of the picture, the ascending diagonal clearly visible in the composition, the contrast between the general numbness of the world and the living figure of a child, which is also located diagonally, but oppositely directed, almost coincide. However, upon careful reading of the paintings, we will notice that in Shishmareva's illustration we have a curious child who tries to lean out the gates of the sleepy kingdom while his guards are sleeping, but he seems to have stuck his feet to the border that he cannot step over; he himself remains there in the yard, only his head crosses the goal line. Taburin's boy is freer, his figure is more dynamic. He reaches for flowering herbs, wanting to discern and comprehend the secrets of the world that surrounds him.
Slide number 6... Compare the illustrations by Y. Gershkovich and I. Konovalov. What moment of the text does each picture illustrate? How are these illustrations similar and how are they different (pay attention to the composition, poses of the characters, setting, details)? How do the authors show the presence or absence of Ilyusha's contact with the nanny at this moment? What does each illustration tell you about? What thought does the proximity of these two illustrations lead us to?
The first illustration depicts the moment when Ilyusha looks on a summer morning at a passing cart and the shadow it casts and is surprised at the world, thinking about everything that he sees. In this episode, Ilyusha is tormented by the desire to run out of the yard, run up the mountain. Mentally, he left the Oblomov circle. The artist managed to convey this in the very pose of the boy, in his focus on long-term perspective.
On the second - one of the winter evenings, when the nanny tells Ilya stories and fairy tales. Here, on the contrary, the child's relationship with the nanny is emphasized: the heroes are in a tightly confined space, Ilyusha greedily absorbs stories, after which “he always has the disposition to lie on the stove, walk around in a ready-made, unearned dress and eat at the expense of a good sorceress”.
These illustrations clarify the peculiar duality of Oblomov's childhood and the hero's soul.
Slide number 7... Compare the illustrations by E. Boehm and N. Shcheglov. What do these images have in common? What is the principle behind their construction?
The illustrations show the same moment: when the nanny falls asleep and Ilya, seizing the moment, sets off to explore the world around him on his own. Both images, different in technique and style, are based on the contrast between the static figure of the nanny and the dynamic figure of the child. But if in Boehm everything turns out to be like a frame, closed by the boundaries of the dovecote, then in Shcheglov a spacious world with the height of the skies and running clouds opens up to the child, towards which he joyfully stretches out his hands. The contrast between Oblomovka and the big world is emphasized in this illustration by light and shadow: the nanny is sitting in the shadow of the house, while Ilya ran out into the sun-drenched space.
Slide number 8. What is so unusual about the illustration of a French artist? What impression does she make on you? What is the thought expressed by the composition of the drawing? What mood do the figures of people create?
In this picture, all the heroes froze in a kind of sleepy static. The figures of adults tightly surround the child. At the same time, the impression is born not so much of love and care as of constraint and even threat.
Summing up the conversation about illustrations, let's say that there is a lot of love in the life of little Ilyusha: everyone adores and pampers him. But this atmosphere of love, which we emphasized as something purely positive, speaking about the childhood of Nikolenka or Nikita, here becomes cloying and somehow distorted: “All this state and the entourage of the Oblomovs' house picked up Ilya Ilyich and began to shower him with caresses and praises; he barely had time to wipe away the traces of uninvited kisses.After that, he began to feed him with buns, crackers, cream.Then his mother, having fondled him again, let him go for a walk in the garden, in the yard, in the meadow, with strict confirmation to the nanny not to leave the child alone, not to allow him to the horses, to dogs, to the goat, do not go far from home, and most importantly, do not let him into the ravine, as the most terrible place in the neighborhood, which enjoyed a bad reputation. "
So, we see that in childhood Ilya Ilyich was a lively and receptive child, but unlike Nikolenka or Nikita, he grows up under constant care, he is actually not allowed to do anything himself. In addition, the cultural atmosphere that we saw in the Tolstoys (music, reading) is missing in his life. From this point of view, it is interesting to compare the description of a winter evening in Nikita's Childhood and in Oblomov's Dream.
Goncharov believed that the impressions of the earliest childhood are decisive in a person's life: “Not a single trifle, not a single feature escapes the inquisitive attention of the child; the picture of home life cuts indelibly into the soul; the soft mind is saturated with living examples and unconsciously draws the program of his life according to the life that surrounds him.
What are adults doing, what does little Ilyusha absorb?
“Oblomov himself is an old man, too, not without work. He sits at the window all morning and strictly observes everything that happens in the yard, "Goncharov writes about Ilya Ilyich's father.
- What are these activities, how does the author talk about them, how does he relate to them?
- What is the activity of Oblomov's mother?
- What does the life of all the inhabitants of the estate revolve around?
The activities of Ilya Ivanovich are absolutely meaningless: he looks out the window all day and distracts everyone working with unnecessary questions. His wife is focused on what is the main thing for the Oblomovites, around which their world revolves - on food.
“Perhaps Ilyusha has already noticed and understands for a long time what they say and do in his presence: like his father, in velvet pantaloons, in a brown woolen wadded jacket, day-to-day only knows that he walks from corner to corner with his hands folded back, sniffs tobacco and blows her nose, while mother goes from coffee to tea, from tea to dinner; that a parent would never even think of believing how many heaps were mowed or compressed, and exacting for omission, but give him a handkerchief not soon, he will shout about the riots and put the whole house upside down, ”concludes Goncharov.
Such is the world of the estate in Ilya Ilyich's childhood memories - the image of his "golden age", the ideal (idealized) past.
ABOUTblom's utopia placed by the author in the second part of the novel, in the episode of the dispute with Stolz (Chapter 4). Oblomov draws imaginary pictures of his future life to a friend.
Let's reread this text carefully with a parallel drawing up a table.
| Dream / Childhood Breakup (idealized past) | Dream Break (Perfect Future) |
|
| Characteristic features and details of everyday life | ||
| The main activities of the heroes, turning points in the course of life | ||
| Atmosphere, mood |
Then we ask to mark the points in the table coincidences and differences.
- Is Oblomov's ideal similar to what surrounded him in childhood? Than?
- What is the difference that Oblomov so ardently defends?
- Why is the offer wonderful? “The lights are already on in the house; five knives are knocking in the kitchen; a pan of mushrooms, cutlets, berries ... there's music ... Casta diva ... Casta diva! " - how does it characterize the Oblomov idyll?
One of the reasons that keeps Oblomov from going to the village, in his own words, is that he wants to come there not alone, but with his wife. Note that Oblomovka is the edge family idylls... However, having become Olga's fiancé and realizing that he has nowhere to take his young wife, Oblomov will never arrange business on the estate.
- What's stopping him?
- Why can't Oblomov complete this path from his current state to the realization of his dreams - the path that he always mentally "jumps over" ("Well, I would come to a new, peacefully arranged house ...", - he begins to expound his dreams to Stolz , not dwelling in any way on the thought of how the house will become "peacefully arranged")?
- Why, instead of a family estate, at the end of the novel we see Oblomov on the Vyborg side, in a kind of “surrogate” Oblomovka?
D / Z The tenth graders will have to answer these questions during the subsequent study of the novel.
APPENDIX
“Ilya Ilyich started developing a plan for the estate. He quickly ran in his mind several serious, fundamental articles about rent, about plowing, came up with a new measure, stricter, against the laziness and vagrancy of the peasants and went on to arrange his own life in the countryside.
He was occupied with the construction of a country house; he gladly stopped for a few minutes on the arrangement of the rooms, determined the length and width of the dining room, the billiard room, and thought about where his study would be turned by the windows; even thought of furniture and carpets.
After that, he placed the outbuilding of the house, realizing the number of guests that he intended to receive, set aside a place for stables, sheds, human and various other services.
Finally he turned to the garden: he decided to leave all the old linden and oak trees as they are, and to destroy the apple and pear trees and plant acacias in their place; I thought about the park, but, having made a rough estimate of the costs in my mind, I found that it was expensive, and, postponing it until another time, moved on to flower gardens and greenhouses.
Then a tempting thought of future fruit flashed through him so vividly that he suddenly moved several years ahead to the village, when the estate was already arranged according to his plan and when he lived there without a break.
He imagined himself sitting on a summer evening on the terrace, at a tea table, under a canopy of trees impenetrable to the sun, with a long pipe, and lazily sucking in the smoke, pensively enjoying the view from behind the trees, the coolness, the silence; and in the distance the fields turn yellow, the sun sinks behind the familiar birch forest and blushes the pond as smooth as a mirror; steam rises from the fields; it gets cool, twilight comes; peasants go home in droves.
An idle mongrel sits at the gate; there you can hear cheerful voices, laughter, balalaika, girls play with burners; his little ones frolic around him, climb on his knees, hang on his neck; at the samovar sits ... the queen of everything around her, his deity ... a woman! wife! Meanwhile, in the dining room, decorated with graceful simplicity, welcoming lights shone brightly, a large round table was being laid; Zakhar, promoted to majordomo, with completely gray sideburns, sets the table, arranges the crystal with a pleasant ringing and lays out the silver, continually dropping a glass or a fork on the floor; sit down to a hearty supper; there is also a friend of his childhood, his constant friend, Stolz, and other, all familiar faces; then go to sleep ...
Oblomov's face was suddenly covered with a blush of happiness ... "
“The Lord did not punish the other side with either Egyptian or simple ulcers. None of the inhabitants saw or remembers any terrible celestial signs, no balls of fire, or sudden darkness; no poisonous reptiles are found there; locusts do not fly there; there are no roaring lions, no roaring tigers, not even bears and wolves, because there are no forests. Only in abundance are chewing cows, bleating sheep and cackling chickens roaming the fields and the village.
God knows whether a poet or a dreamer would be content with the nature of a peaceful corner. As you know, these gentlemen love to gaze at the moon and listen to the clicking of nightingales. They love the coquette moon, which would dress up in fawn clouds and mysteriously shine through the branches of trees or pour sheaves of silver rays into the eyes of their fans.
And in this land no one knew what kind of moon it was - everyone called it a month.
She somehow kindly, with all her eyes looked at the villages and the field and looked very much like a cleaned copper basin. "
“The whole corner of fifteen or twenty versts around was a series of picturesque sketches, cheerful, smiling landscapes. The sandy and sloping banks of the bright river, small shrubbery creeping up from the hill to the water, a curved ravine with a stream at the bottom and a birch grove - everything seemed to have been deliberately tidied up one to one and skillfully drawn.
A heart worn out by worries or completely unfamiliar with them asks to hide in this forgotten corner and live with unknown happiness. "
Publications of the section Literature
Manors and summer cottages in the works of Russian classics
A country house or an estate located near the city is a real Russian phenomenon. We often find descriptions of such estates in Russian classical literature: many important events take place precisely in country decorations, in shady alleys and gardens.
Lev Tolstoy
One of the famous summer residents was Leo Tolstoy. His life revolved around the Yasnaya Polyana family estate, where he raised his children, taught peasant children and worked on manuscripts. For Tolstoy, the Russian estate became not just a home where happy childhood years pass, but also a place where character is tempered. His views on the structure of the manor house and the way of life in general formed the basis of the world outlook of the young landowner Konstantin Levin, one of the heroes of the novel "Anna Karenina".
“The house was large, old, and although Levin lived alone, he heated and occupied the whole house. He knew that it was stupid, he knew that it was not even good and contrary to his current new plans, but this house was the whole world for Levin. This was the world in which his father and mother lived and died. They lived that life, which for Levin seemed the ideal of all perfection and which he dreamed of renewing with his wife, with his family. "
Leo Tolstoy, "Anna Karenina"
For Lyovin, the estate is not only a fertile ground for nostalgia, but also a means of earning money, an opportunity to provide himself and his family with a decent existence. Only a well-groomed and strong farm could survive in the new Russia. There was no room in the Tolstoy estate for the pampered Onegins - they fled to the cities. A real owner remained in the village, who is alien to laziness: "Levin also ate oysters, although white bread with cheese was more pleasant to him".
Ivan Turgenev
The inhabitants of the provincial noble nests near Ivan Turgenev are enlightened and educated people who are aware of cultural and social events. The widowed landowner Nikolai Kirsanov, although he lived without a break in the estate, adhered to advanced ideas: he subscribed to magazines and books, was fond of poetry and music. And he gave his son an excellent education. The Kirsanov brothers made a fashionable mansion out of the old parental house: they brought furniture and sculptures there, laid out gardens and parks around, dug ponds and canals, erected garden pavilions and gazebos.
“And Pavel Petrovich returned to his elegant office, papered on the walls with beautiful wild-colored wallpaper, with weapons hung on a colorful Persian carpet, with walnut furniture upholstered in a dark green tripod, with a renaissance library (from French“ in the style of the Renaissance ”. [I] - Ed. Note [I]) from old black oak, with bronze figurines on a magnificent writing table, with a fireplace ... "
Ivan Turgenev, "Fathers and Sons"
In the days of Turgenev's youth, the estate was considered a place where a nobleman could hide from high society, rest in body and soul. However, the writer felt anxiety - as if soon the estate, as a stronghold of reliability and peace, would disappear. Even then, descriptions of decaying estates appeared in his works - this is how he imagined the future of the landlord culture of Russia.
“Lavretsky went out into the garden, and the first thing that struck him was that very bench on which he had once spent several happy, unrepeated moments with Liza; she turned black, twisted; but he recognized her, and his soul was seized by that feeling that has no equal in both sweetness and sorrow - a feeling of living sadness about vanished youth, about the happiness that he once possessed.
Ivan Turgenev, "The Noble Nest"
Anton Chekhov
Dilapidated summer cottages from the works of Turgenev, overgrown with weeds, burdocks, gooseberries and raspberries, in which the traces of human presence will finally die out very soon, are reflected in the work of Anton Chekhov. The deserted or ruined estate figures as a place of events in almost every story.
Chekhov himself was not a "chick of a noble nest"; in 1892 he and his family moved to a neglected and uncomfortable estate in Melikhovo. For example, in the story "House with a Mezzanine" only a house with a mezzanine and dark park alleys remained from the former landlord wealth, but the life of the owners is being adjusted to the new era: one of the daughters left their parents forever, and the second now "lives on his own money" very proud.
“He said little about the Volchaninovs. Lida, according to him, still lived in Shelkovka and taught children at school; little by little she managed to gather around her a circle of people she liked, who made up a strong party and in the last zemstvo elections "gave a ride" to Balagin, who until that time had held the entire district in his hands. As for Zhenya, Belokurov only said that she did not live at home and was not known where. "
Anton Chekhov, "House with a Mezzanine"
In the play "The Cherry Orchard" Anton Chekhov portrayed the Russian aristocracy as doomed and degenerate. In place of the nobility, stuck in debt, incapable of pragmatic thinking, a new man comes - a merchant, enterprising and modern. In the play, it was Yermolai Lopakhin, who suggested to the owner of the estate Lyubov Ranevskaya "to break the cherry orchard and land along the river into summer cottages and then lease them out for summer cottages." Ranevskaya resolutely rejected Lopakhin's proposal, although it would bring huge profits and help pay off debts. Chekhov shows his readers: a new time has come, in which the economy and pure calculation reign. And aristocrats with a fine mental organization are living out their days and will soon disappear.
“Set for the first act. There are no curtains on the windows, no paintings, there is a little furniture that is folded into one corner, as if for sale. The emptiness is felt. Suitcases, road junctions, etc. are stacked near the exit door and in the back of the stage. "
Anton Chekhov, "The Cherry Orchard"
Ivan Bunin
Ivan Bunin, a representative of an impoverished noble family, the “last classic” of Russian literature, has repeatedly addressed the theme of a noble estate in his work. At the dacha, events unfolded in the novel "The Life of Arsenyev", and in the collection of stories "Dark Alleys", and in the story "Mitya's Love", and, of course, in the story "At the Dacha".
The estate near Bunin is not just a place of action, but a full-fledged hero of a work with his own character and constantly changing mood. In the first works of Bunin, country houses are inextricably linked with the cultural traditions of the nobility, the established way of life and their own customs. The dachas are always quiet, green, well-fed and crowded. Such is the estate in the stories "Tanka", "On the Farm", "Antonovskie Apples", "Village", "Sukhodol".
“The cackling of chickens was heard loudly and cheerfully from the yard. The silence of a bright summer morning was still in the house. The living room was connected to the dining room by an arch, and a small room adjoined the dining room, all filled with palms and oleanders in tubs and brightly illuminated by amber sunlight. The canary was fiddling there in a swaying cage, and one could hear how sometimes the seeds of the seed poured, clearly fell on the floor. "
Ivan Bunin, "At the Dacha"
In 1917, the writer witnessed the mass destruction of the dear and dear world of noble nests. In 1920, Ivan Bunin left Russia forever - he emigrated to France. In Paris, Bunin wrote a cycle of stories "Dark Alleys", the story "Mitya's Love" and the novel "The Life of Arseniev".
"The estate was small, the house was old and unpretentious, the household was simple, not requiring a large courtyard - life began quiet for Mitya."
Ivan Bunin, "Mitya's Love"
In all the works, one can feel the bitterness of loss - of the home, homeland and harmony of life. His emigrant noble nests, though doomed to perish, keep the memories of the world of childhood and youth, the world of the old noble life.
A bit of history
A manor in the Russian tradition is a separate settlement, a complex of residential, economic, park and other buildings, as well as, as a rule, a manor park, which make up a single whole. The term "estate" refers to the possessions of Russian noblemen of the 17th - early 20th centuries, it is believed that it originated from the Russian verb "sit down".
The first mention of the estate in documents refers to 1536. In a separate book in June 1536, the division of the estates of the Obolensky princes between relatives in the Bezhetsk district is recorded. From the text it turns out that there was a homestead near the village of Dgino.
Thus, the history of the Russian estate goes back almost six centuries. According to researchers, the estate took root on Russian soil because it invariably remained a corner of the world for the owner, mastered and equipped for himself.
The family estate is not just a country house and the land adjacent to it, but also a spiritual territory, where a variety of events in the life of the family are collected and captured. Everyday worries, happy holidays, family celebrations, work and leisure time - all this was captured and passed through the centuries, recalling the history of the family. The estate is like a small homeland of a person, where several generations of his ancestors lived.
Our present with you
Unfortunately, now the concept of "homestead" is practically lost. We live in city apartments, being city dwellers in the second or third generation, and even if we go out of town to a site, it can hardly be called a "backyard". But more and more often modern people come to understand what kind of history means to them. Building a “family nest” is the first step towards restoring the former role of the family estate, preserving and respecting the history of our ancestors.
In modernized suburban construction, the so-called "cottage villages" prevail, which are actively built up with houses made of stone, glass, metal and plastic. Yes, it is practical, effective, stylish, but, as they say, the Russian spirit does not live there and does not smell of Russia there. Not to mention the lack of environmental friendliness of such buildings.
However, not so long ago wooden construction in the Russian style experienced the first stage of revival.
Fortunately, already at the end of the past century and with the onset of the new millennium, the traditions of the Russian estate began to revive among those who like to lead a suburban lifestyle, surrounded by nature, in the midst of peace and quiet. And the very environment in such housing is conducive to pacification and peace.
What can a modern manor be like?
The meaning of a modern estate can be formulated as a separate land ownership with a complex of residential, economic, park and other buildings, including the estate park - a single whole (family) estate that has absorbed all the triumph of progress, and at the same time, not forgetting about the traditional values \u200b\u200bof Russian architecture ...
So, the estate is a complex system of buildings on a plot of at least 30 acres. Central house, outbuildings, guest houses, bathhouse, garage, gazebos, boiler room, autonomous power plant, garden, squares, pond, etc.
Of course, the central residential building has its own special requirements. Being the center of the estate and the ancestral estate of future generations, this house should be expressive enough from the point of view of the exterior, reliable and durable from a constructive point of view.
Life in a family estate, as mentioned, presupposes a change of generations of its owners, but it may also be the case that three families will live in good harmony under one roof. Such a task, of course, is successfully solved by the verified design of the central building.
Naturally, the issue of its operation - the availability of life support systems - is on a par with the design of the estate. The estate must be provided with power supply, heating and sewerage systems in such a way that the owners of the house think about them as little as possible, and the maintenance staff would take over the daily operation.
Summing up, we can say that today the "family nest" is a fairly large land plot with a master's house, a place for rest and various outbuildings. Modern suburban settlements are being built with a well-thought-out infrastructure, all the benefits of civilization are available to their residents, but one thing remains unchanged - life in harmony with nature and with oneself. Endless expanses, green or snow-covered fields, natural reservoirs, horseback riding and boating do not cease to be in demand.
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The estate as the basis of the noble life, economy and culture of the Russian Empire was a vivid expression of national genius and a place where elite and folk cultures met. The disappeared world of the Russian estate left a lot of literary and documentary evidence. Equivalent from a historical point of view, although not equal in artistic quality, the photographs recreate the bygone poetic world of family nests and pictures of the private life of large noble and merchant families. Observing the disappearance of manor culture A.N. Grech argued that after 1930 it should be perceived only through the eyes of memory. By visualizing the memory of several pre-revolutionary generations, photographic images reveal this phenomenon of Russian life visibly and completely. The estate is presented at the exhibition from several perspectives: from ceremonial views of large estates and amateur photographs from family albums to artistic images of old parks and abandoned estates.
The exposition opens with custom-made ceremonial views of estates made by masters of the largest ateliers. The plot of the manor views, printing features, and sometimes the composition were determined not only by the ideas of the photographer himself, but also by the wishes of the customer. The photographs show architectural complexes and landscapes, the owners of their favorite estates. In a similar way, the glorified, Ilyinsky, Porechye are captured. To unique examples of early manor photography of the 1860s. include stereogherotypes of the studio “T. Schneider and Sons "with interiors of Maryin, photographs made by M.N. Scherer, and created by M.B. Tulinov.
Amateur photographs, the authors of which are the owners and guests of the estates themselves, are distinguished by the spontaneity of the subjects and the liveliness of the composition. The plots of the pictures are varied: genre scenes (picnics, boating, walking), portraits of servants and guests, private rooms, dear to the heart nooks and crannies of the park and the surrounding area. At the turn of the 19th – 20th centuries, photography became an accessible form of artistic activity. Summer leisure in Russian society is traditionally associated with the estate, so images of everyday joyful life in the estate have become widespread. The emergence of amateur photographs is not related to the aesthetic or historical value of the estate, they were born by the harmonious atmosphere of the estate life, common family activities.
Documentary photographs reflect the arisen in the 1890-1910s. great interest in the study and preservation of the Russian estate with its artistic and historical artifacts. The estate was perceived as a unique synthetic art phenomenon and a place of ancestral memory. Photographers recorded the features of the architectural ensemble and the interior complex of the estates. The shooting of architecture and species genre for the purpose of photographic documentation of monuments was addressed by P.P. Pavlov, N.N. Ushakov, A.A. Ivanov-Terentyev.
At the beginning of the XX century. the myth of the Russian estate took shape literally and artistically, the idea of \u200b\u200bit as a symbol of the outgoing noble culture was formed. The author's view of the photographers was attracted by landscapes and details that convey a special passeistic mood of the estate life - the poetry of dying, dying greatness. The main objects of the image - the nature of the estate and the park - have become spiritualized, emotionally colored. The artistically transformed image of the estate, as if hidden by a light haze of memory, corresponds to the techniques of pictorial photography. The idea of \u200b\u200bthe estate was embodied in the iconic images of photography - the young lady and the alley. Most of the works come from the fund of the Russian Photographic Society - the pearl of the Historical Museum's photo collection. Photos by A.S. Mazurina, N.A. Petrova, N.S. Krotkova, V.N. Chasovnikov, V.N. Shokhin were shown at competitions and were selected for the future museum of photography.
The 1920s is the last significant period in the development of the estate theme. The interest in the study of the estate heritage and the poetry of the ruined nests attracted leading Soviet photographers. Having become exclusively a phenomenon of the past, the estate acquired the possibility of new interpretations. Photo sketches of outstanding domestic masters, no longer embody the wonderful outgoing Silver Age, but the past, irretrievably lost, perished past. Most of the photographs were shown at the famous exhibition "Soviet Photography in 10 Years" in 1928. Subsequently, the disappearance of the estate culture as a living and powerful tradition led to the absence of the image of the estate in Soviet photography.
Rybalko D.M. (Tula), researcher at the V.V. Veresaeva House-Museum / 2011
“It seems to me: our life is the same sacred forest. We enter it so ourselves to have fun, to have fun. And everything around lives, everything feels deeply and strongly ... Yes, one should enter into life not as a cheerful reveler, as in a pleasant grove, but with reverent awe, as in a sacred forest full of life and mystery. "
V.V. Veresaev
Following the thoughts of the writer, we will try to reconstruct the speculative historical and literary image of an old noble city estate of the second half of the 19th century, the Smidovich estate in Tula on the street. Verkhne-Dvoryanskaya (now Gogolevskaya St., 82, House-Museum of V.V. Veresaev). After all, the writer, doctor, Pushkin scholar, translator V.V. Veresaev, who grew up on the same soil with the parental garden, absorbed such a reverent attitude towards life: “Until the age of seventeen continuously, and then for many years in the summer I lived in Tula and the Tula province and , of course, I was thoroughly saturated with Tula nature. Wherever I portrayed a provincial town ("Without a road", "At the turn", "To life") Tula served as my material. "
Both the accumulated materials from the State Archives of the Tula Region and literary sources will help us to reveal the historical and literary image of the estate, as well as literary sources: works and memoirs of the writer himself, which are no less reliable due to the realistic style of writing, very characteristic of V.V. Veresaev.
So, we have a number of documents on the history of the Smidovich estate in Tula: a) the purchase fortress of the doctor's wife EP Smidovich on the house 231/223, a yard and a garden place on the street. Verkhne-Dvoryanskaya from April 28, 1867; b) V.I.Smidovich's petition for the sale of a part of the estate located under the garden to his wife Mrs. Smidovich for rounding off her estate on Verkhne-Dvoryanskaya Street. June 3, 1874; c) petition of the widow of the court councilor E.P. Smidovich for the construction of a wooden staircase on the 2nd floor of her house dated February 19, 1898. A drawing of the estate with all the buildings is attached to these documents - this is a one-story wooden house where the Smidovich family lived; a two-story wooden house that was rented out; sheds and shed. The boundaries of the estate and the surnames of the neighbors are indicated, which shows that the Smidovich estate has the form of a regular rectangle with sides of 41 and 26 fathoms, with a total area of \u200b\u200b4785 sq. In addition, a description of the estate, or rather the meteorological site on it, can be found in the book by V. I. Smidovich "Meteorological observations in the city of Tula in 1877", as well as by studying the photographic material and the plan of the house drawn up by Veresaev.
These undoubtedly important historical facts, which formed the basis for the creation of the museum, by themselves would never have been able to convey the former splendor of the estate life, in contrast to the living writer's word: “... Dad had his own house on Verkhne-Dvoryanskaya Street, and I was born in it. It was a small house with four rooms, with a huge garden ... The garden at the beginning was, like all the neighboring ones, almost entirely fruit, but dad gradually planted it with fruitless trees, and already in my memory, only here and there were apple trees, pears and cherries ... Strong maples and ash trees grew and widened, the birches of the great alley rose more and more, thickets of lilac and yellow acacia along the fences grew thicker and thicker. Every bush in the garden, every tree was well known to us ... And there were excellent places for games: under Daddy's balcony, for example, a dark, low room where you had to bend down ... Much villainy was committed in this dungeon, a lot of bandits hid , many torments were experienced by the captives ... "
This excerpt from the memoirs of V.V. Veresaev clearly shows how spiritually important a literary source is for us, which depicts its authentic reality, reveals the inner world of the estate, and the state of mind of its inhabitants, which cannot be conveyed only by historical materials to an ordinary reader, not a specialist ... For us, such a source is VV Veresaev's "Memories" and a number of his works, where one can see not only the image of the family estates to the writer, but also traces the realities of estate Russia. In the story "Without a Road", thanks to which Veresaev became famous in Russia, events unfold either in the vicinity of an old noble estate in the village of Kasatkin (the prototype is an estate in the village of Zybin, where the writer visited every summer), then in Slesarsk (Tula), although we are talking about the decline of the populist movement. In the book we will see the linden alleys of the Zybinsky garden, a large manor house with columns along the facade, the Vashanu river, picturesque surroundings. But the image of the estate in the works of Veresaev is often collective, formed from the aromas of the Tula garden and shady ash vaults along the city outskirts, the latitudes of the suburban Vladychnya and Zybin.
In addition, a literary source can often either confirm or deny archival evidence. In addition, it contains a ton of factual material. So, for example, having only one plan of the Smidovich estate, we would never be able to form a complete picture of it. But now, comparing the writer's documents and memoirs, we learn that the garden was of a park type, mainly maple, lovingly planned and planted by the writer's father Vikenty Ignatievich Smidovich, the shape of a regular quadrangle, large enough for a city estate. In addition to maples, ash trees, linden, spruce and many shrubs grew in it: elderberry, rose hips, roses, jasmine-mock-orange. When examining the garden in 1993, 13 trees planted by V.I.Smidovich at the age of 100-130 years were identified, and traces of gravilate, balsam, forget-me-nots were found in the soil. The decoration of the garden was a bush of white rhododendron, which was removed to the greenhouse for the winter. We learn about this again from memories: “When I was still very young, my father was very fond of gardening ... There were hotbeds, there was a small greenhouse. I vaguely remember the warm, steamy air, the patterned leaves of palm trees, the wall and ceiling of dusty glass, the slides of loose, very black earth on the tables, the rows of pots with planted cuttings. And I also remember the sonorous, firmly imprinted word “rhododendron” ”.
In front of the garden there was a large flower garden, where the rarest flowers grew, which were lovingly looked after by Vikenty Ignatievich. How much my father valued his garden can be judged by the exceptional case when the future writer was whipped for the only time in all the time: “Dad called me, led me to a flower, showed him and said: - See, here's a flower? Don't you dare not only touch him, but don't come close. If it breaks, it will be very unpleasant for me. Got it? - Got it. " The fact is that Vincent, who was a great inventor and dreamer, understood the pope in this way that he was instructed to transplant a flower. Of course, he was very flattered by the confidence placed in him and made the transplant with all care, for which he was unjustly punished.
The birch alley, laid from the house to the pavilion at the end of the garden, was the main compositional and planning axis of the estate. In the far corner there was a canooper bush, on the crooked path that led from the courtyard to the birch alley there was a Tatar maple, on a round hill there was a horse chestnut. Yellow acacia, white and blue lilacs grew along the fence. Old Russian varieties of apple trees grew from fruit trees on the site: pear, cinnamon, borovinka, antonovka, kitaika, fruits that, according to the writer's memories, were so tempting for children, especially on the eve of the apple salvation.
An unusual activity for a noble family was work in the garden, in which not only the servants, but also all household members took part: "At Trinity, the garden had to be cleaned: rake last year's leaves and twigs from the grass with a rake, sweep the paths, sprinkle them with sand." But then an interesting story unfolds before us, about how my mother suggested the children let go of the old day laborer, give him the money, and finish the work themselves, to which the children happily agreed: “We worked with animation for three days and cleaned the garden for the holiday ". In addition, a reasonable tradition was established by the mother: "Any of us really needed money, he could get work from his mother in the garden or in the yard ... Mom instructed me to clear the area under the big linden tree from the grass and twigs from the grass and twigs." And the fight against May beetles: “Spring. The birch trees have just unfolded their patterned, cheerful green leaves. May beetles with a businesslike buzzing rush around the birches, and we are fussing down below - sweaty, panting, with eyes crawling out onto our foreheads ... Never afterwards did nothing fill me with such pride in my useful work as this fight with May beetles. "
It is important to note that the outer decoration of the estate and the structure of life in it have always been a reflection of the inner world of its inhabitants. The Smidovich family was very significant for Tula, because the writer's father, a Polish nobleman, was considered one of the best doctors, was known for his social and scientific activities aimed at improving the sanitary condition of the city, the love of the Tula working poor, which he treated free of charge and in the first clinic, and at home. He contributed to the construction of the first water supply system in Tula, the opening of the largest Tula park. IP Belousov on the site of the former city dump and much more. He owned an interesting collection of minerals and a library in various branches of knowledge. And he happily handed over his chemical laboratory, located in the basement of the house, to the City Sanitary Commission created by him. Conducted systematic meteorological observation, with the help of which he left a detailed description of the features of the Tula climate, so there was a meteorological site on the estate. The description of this site, as well as the results of work on it, we can read in the book "Meteorological observations in the city of Tula for 1877".
It was a tradition in the family to arrange family readings in the evenings, a day of the German language once a week, children's dance evenings on Christmastide, and invite interesting people. The Smidovich estate is still a meeting place for the Tula intelligentsia. It is no coincidence that it was here, in a house with such a rich family tradition, that the writer's mother, EP Yunitskaya, a born teacher, opened the first kindergarten in Russia, “a perfect curiosity in Tula,” writes V.V. Veresaev. There is evidence of this in the "Tula Provincial Gazette" dated October 25, 1872: "With the permission of the trustee of the Moscow educational district, I open on November 1 this year on Bolshaya Dvoryanskaya Street, in my own house, a kindergarten for children from 3 years to 7" And signature : "Elizaveta Pavlovna".
The father cared not only about the moral and intellectual development of his children, but also, like a doctor, about physical health: “At the end of our garden there was a large playground, and on it there was“ gymnastics ”: two high pillars with a cross beam; in the middle there are climbing poles, a knotted rope, a trapeze. " These structures also served as decorations for children, where, as V.V. Veresaev writes, “there were various adventures of an Indian character”: “Once, after many adventures in different parts of the garden, my sister Arabella and I were captured by the Indians (I was Arthur, Julia - Arabella). The Indians tied us up ... It took place in a large gazebo, at the end of the garden: it was a real wooden house, painted green, with an iron roof, with three windows and a door ... We carefully climbed out the window and with the speed of a snake rushing on the prey, they started to flee into the virgin forest.
We ran all night and day. In the evening we made a halt on the steps of my father’s balcony.
I put my ear to the ground, ... parted the jasmine branches - and stopped as if rooted to the spot: in pursuit of us, thirty thousand red-skinned riders rushed ... We ran around the ledge of the house, a black barrel of rainwater, ran along the wall of the stable to a large linden ... Lying down in the impenetrable bamboo thickets, near the garden with onions, I beat a choice from my fittings ... "
Memories of his youth are full of not so much detailed as poetic descriptions of the estate, where you can see what a fine palette of natural shades she endowed the soul of the future writer: “It was May, our large garden was like a bright green sea, and on it the white and purple foam of blooming lilacs lightened. Her scent filled the rooms. Sun, shine, joy. And there was not just joy, but a continuous feeling of it. "
Recalling the estates in emigration, one of the former authors of the St. Petersburg magazine Apollo A. Trubnikov wrote: “In the noble estates the whole essence of Russian culture has been condensed; they were intellectual greenhouses, in which the most beautiful flowers bloomed. From them came Pushkin, Lermontov, Tolstoy, Turgenev, Leskov, our great writers, our best musicians and poets ... the evolution of our society after Peter manifested itself not at all in the architecture of Tsarskoye Selo or the treasures collected by Catherine in the Hermitage, but in the birth of a very peculiar and the unlikely world of Russian estates. " All of the above applies equally to our estate.
Great writers (A.S. Pushkin in Zakharov, N.V. Gogol in the village of Vasilyevka, Poltava region, M.Yu. Lermontov in Tarkhany, L.N. Tolstoy in Yasnaya Polyana) matured as individuals in the conditions of the estate universe and subsequently all their life thought of it in categories.
The Tula estate of the Smidovichs is the source of everything: the personality and shades of the writer's work, the beginning of his life and creative path, the prototype of artistic images, the source of the book and worldview called "living life", rooted in childhood, in the parental garden. Unlike I. A. Bunin with his minor perception of the estate world (the Butyrki farm, in which the writer spent his childhood earlier, was away from the highways in the deepest field silence) Veresaev enthusiastically looks at life according to the ancient times. The author's rapture with life, living life, nature, music is not fictional feelings and images in his works, but genuine ones. We can easily be convinced of this if we read one diary entry made on July 13, 1892 in Tula during the period of writing the story "Without a Road": “Yesterday I arrived from Zybin. A wonderful time. The countryside alone can make me happy. I reveled in the smell of ripe rye, dewy starry nights, air, river ... In the evenings, music by Nadia Stavrovskaya, Beethoven. You sit on the terrace and listen through the open windows and look into the garden ... vague, but strikingly beautiful images form in your head. "
The whole work of the writer is saturated with the joyful mystery of the living, the Tula expanses endowed his soul with their colors, he thinks in terms of earthly beauty. And, perhaps, it was thanks to the natural sense of harmony that V.V. Veresaev entered Russian literature, as a public writer, like a tuning fork reacting to the falsity of the surrounding reality: “And how could I be so blind before not to see this penetrating everything life? And as a child, I felt it. I then went up to the window at night and looked into the garden. In the vague gloom, lilac bushes mysteriously dozed, strangely living branches moved against the pale background of the sky, and everything lived its own special, mysterious life. Having strayed away, wandered aside, I now returned to her, to this inaccessible mind, but conquering the soul, the bright mystery of life. "